The map is vitally important for space design. Maps allow designers to record and filter impossibly complex information about an environment. Designers try to capture a variety of aspects of a site through the use of graphic tools like maps and drawings. While there is a long-established conventional graphic language for recording characteristics of a site, this language is often inadequate when one attempts to explore and capture subtler perceptual qualities of urban environments. Many of these perceptual qualities can greatly inform a design and some designers have invented creative mapping strategies to record and analyze difficult aspects of a site. This position paper follows the work of innovative designers who creatively map perceptual qualities of urban landscapes. The theories and practices of these designers have informed my development of new creative tools for mapping my perception of space. The design portion of this thesis takes place in the Mexican War Streets Neighborhood of Pittsburgh, Pennsylvania and results in a plaza for the local Mattress Factory Art Museum. The design phase uses and evaluates traditional perception and representational tools of urban design. New creative maps are used to express what the traditional tools cannot. These creative maps are used to derive the concept for the site design as well as the design of the major site elements and materials. / Master of Landscape Architecture

The aim of this thesis is worksheets creation that can support the mathematics education at the primary school. These documents are focused on the thematic complex of function. Worksheets should find the use of mathematics education at primary school {--} at separate education and especially at subsequent practise. Necessary tool to their application is mathematical program Derive, in which all worksheets are created. Endeavour of this work is achieving higher effectiveness of mathematics education and its approach to the pupils of primary school.

This thesis is an attempt to interrogate the relationship between everyday walking and the contemporary Indian city, specifically the contemporary cultural and geographical space of Delhi--—a postcolonial city that functions simultaneously as a “global” city and a “walled city” (King, Spaces). While walking as performance art is of increasing relevance in the contemporary Indian city, the scope of this project restricts itself to examining the nature of everyday walking and its ties to everyday life, heritage and urban memory. Engaging with walking as a form of performance ethnography, this thesis considers a range of walks—heritage walks, commemorative memory walks and a form of the Situationist dérive—in the contemporary city of Delhi to ask: What can walking as an activity of performance ethnography tell us about how architecture, violence and the urban imagination dictate our lives that urban form and histories alone cannot? What is the relationship between forms of urban memory, everyday life, and heritage in an Indian city—Delhi, in this case—and how do the various kinds of walks inform this relationship? What are the various kinds of walks that emerge in response to and dialogue with site, and how do New and Old Delhi serve as models for this? This thesis is primarily about everyday walking practices in urban India, but in becoming so, it also attempts to crucially interrogate walking as ethnography as well as the practice of ethnography itself, specifically performance ethnography. It argues that some of the productive ways to engage with these practices are by re/considering walking as a practice of performance ethnography of the city, through the selective lenses of everyday life, heritage and urban memory.

O trabalho apresenta reflexões sobre o processo de criação de Fábrica de Calcinha, pesquisa artística realizada pela autora com o objetivo de explorar a sonoridade como ativadora e norteadora da composição da cena. O processo de criação partiu da sonoridade percebida no centro da cidade de Porto Alegre. O encontro com este material foi estimulado pelo procedimento de Derivas Sonoras, das quais participaram a própria autora, um músico e um performer. Construiu-se, assim, um arquivo de objetos sonoros (Schaeffer, 1966), objetos perceptivos decodificados pela mente como um som, gravados na memória dos corpos e em dispositivos tecnológicos, e recuperados em diferentes etapas do processo de criação. A escuta se afirmou como poética de trabalho, mediando as interações que deram forma ao material cênico. Para a organização das diferentes ações cênicas (físicas, sonoras e vocais) criadas em improvisações, foi utilizado, sobretudo, um modelo de partitura cênica desenvolvido pelo encenador e compositor Heiner Goebbels. / The dissertation presents reflections on the process of creating Fabrica de Calcinha (Panty Factory), artistic research done by the author in order to explore the sonority as activating and guiding the composition of a scene. The creation process started from the sounds perceived in the center of Porto Alegre. We used the Dérive Sonore procedure as stimuli for this encounter, which was carried out by the author herself, a musician and a performer. We were, thus, able to build a database of sound objects (Schaeffer, 1966), perceptual objects decoded by the mind as a sound, recorded in the memory of bodies and technological devices and recovered at different stages of the creation process. The listening of the material affirmed itself as poetic work mediating the interactions that shaped the scenic material. For the organization of the different performing actions (physical, sound and vocals) created in improvisations, we primarily used a scenic music score model developed by the director and composer Heiner Goebbels.

dans le fichier

La taille efficace des populations, Ne, est un paramètre central en biologie de la conservation et en biologie évolutive et peut être estimée avec des méthodes démographiques et génétiques. L'objectif de cette thèse a été l'analyse des effets de l'histoire de vie sur Ne dans des espèces à générations chevauchantes en utilisant des modèles démographiques. Un modèle démographique et deux estimateurs génétiques ont été utilisés pour dériver Ne dans des population d' Eryngium alpinum, une plante pérenne et menacée. Les trois méthodes ont donné des estimations considérablement différentes. Les différences ont pu être attribuées à la difficulté d'obtenir toutes les données nécessaires au modèle démographique, mais aussi à la faible précision des estimateurs génétiques quand ils sont appliqués à des jeux de données limités. Les modèles démographiques ont cependant permis l'identification des effets de l'histoire de vie sur Ne à travers des analyses de sensibilité et d'élasticité. L'élasticité numérique a été utilisée pour étudier les effets sur Ne de taux vitaux stadespécifiques dans E. alpinum et dans Dracocephalum austriacum, une plante alpine pérenne et menacée. Les patrons d'élasticité dérivés étaient souvent, mais pas toujours, similaires dans des populations à démographie comparable. Ensuite, un modèle démographique a été analysé en détail pour dériver analytiquement une expression pour la sensibilité de Ne/N aux taux vitaux âgespécifiques. Cette expression a été utilisée pour étudier Ne/N dans trois espèces qui diffèrent dans leur patron de courbe de survie (humains, bruants et balanes). Les différences des patrons de sensibilité entre ces trois espèces ont pu être ainsi attribuées à des composantes spécifiques du cycle de vie. Cette thèse montre que les modèles démographiques sont des méthodes utiles pour comprendre les effets de l'histoire de vie sur Ne et qu'ils pourraient être des outils puissants pour complémenter les estimateurs génétiques quand des données écologiques et démographiques sont disponibles en quantité suffisante. L'étape suivante sera la généralisation des patrons de sensibilité et d'élasticité observés en utilisant une approche comparative sur un grande nombre de populations, ce qui sera possible grâce à la rapide accumulation de grandes quantités des données démographiques et génétiques sur un grand nombre d'espèces.

O trabalho apresenta reflexões sobre o processo de criação de Fábrica de Calcinha, pesquisa artística realizada pela autora com o objetivo de explorar a sonoridade como ativadora e norteadora da composição da cena. O processo de criação partiu da sonoridade percebida no centro da cidade de Porto Alegre. O encontro com este material foi estimulado pelo procedimento de Derivas Sonoras, das quais participaram a própria autora, um músico e um performer. Construiu-se, assim, um arquivo de objetos sonoros (Schaeffer, 1966), objetos perceptivos decodificados pela mente como um som, gravados na memória dos corpos e em dispositivos tecnológicos, e recuperados em diferentes etapas do processo de criação. A escuta se afirmou como poética de trabalho, mediando as interações que deram forma ao material cênico. Para a organização das diferentes ações cênicas (físicas, sonoras e vocais) criadas em improvisações, foi utilizado, sobretudo, um modelo de partitura cênica desenvolvido pelo encenador e compositor Heiner Goebbels. / The dissertation presents reflections on the process of creating Fabrica de Calcinha (Panty Factory), artistic research done by the author in order to explore the sonority as activating and guiding the composition of a scene. The creation process started from the sounds perceived in the center of Porto Alegre. We used the Dérive Sonore procedure as stimuli for this encounter, which was carried out by the author herself, a musician and a performer. We were, thus, able to build a database of sound objects (Schaeffer, 1966), perceptual objects decoded by the mind as a sound, recorded in the memory of bodies and technological devices and recovered at different stages of the creation process. The listening of the material affirmed itself as poetic work mediating the interactions that shaped the scenic material. For the organization of the different performing actions (physical, sound and vocals) created in improvisations, we primarily used a scenic music score model developed by the director and composer Heiner Goebbels.

O trabalho apresenta reflexões sobre o processo de criação de Fábrica de Calcinha, pesquisa artística realizada pela autora com o objetivo de explorar a sonoridade como ativadora e norteadora da composição da cena. O processo de criação partiu da sonoridade percebida no centro da cidade de Porto Alegre. O encontro com este material foi estimulado pelo procedimento de Derivas Sonoras, das quais participaram a própria autora, um músico e um performer. Construiu-se, assim, um arquivo de objetos sonoros (Schaeffer, 1966), objetos perceptivos decodificados pela mente como um som, gravados na memória dos corpos e em dispositivos tecnológicos, e recuperados em diferentes etapas do processo de criação. A escuta se afirmou como poética de trabalho, mediando as interações que deram forma ao material cênico. Para a organização das diferentes ações cênicas (físicas, sonoras e vocais) criadas em improvisações, foi utilizado, sobretudo, um modelo de partitura cênica desenvolvido pelo encenador e compositor Heiner Goebbels. / The dissertation presents reflections on the process of creating Fabrica de Calcinha (Panty Factory), artistic research done by the author in order to explore the sonority as activating and guiding the composition of a scene. The creation process started from the sounds perceived in the center of Porto Alegre. We used the Dérive Sonore procedure as stimuli for this encounter, which was carried out by the author herself, a musician and a performer. We were, thus, able to build a database of sound objects (Schaeffer, 1966), perceptual objects decoded by the mind as a sound, recorded in the memory of bodies and technological devices and recovered at different stages of the creation process. The listening of the material affirmed itself as poetic work mediating the interactions that shaped the scenic material. For the organization of the different performing actions (physical, sound and vocals) created in improvisations, we primarily used a scenic music score model developed by the director and composer Heiner Goebbels.

The aim of this thesis is the creation of model examples for teachers that can be used in mathematics lessons on basic and secondary schools. The learners are taught how to complete picture from geometry formations set with mathematics formula. This is, according my point of view, the best way how to motivate the learners of any age. The partial aim was to create a summary of theme units which can be used as a source for the pictures' creation. The whole thesis is divided into 7 chapters. Each of them consists of the introduction to the issue, a model example and exercises on the issue and their solutions.

Darbe nagrinėjami judesiai n-matėje hiperplokštuminių elementų erdvėje . Gauti rezultatai: 1. Įrodyta, kad n-matėje hiperplokštuminių elementų erdvėje maksimalus judesių grupių parametrų skaičius yra parametrai. 2. Įrodyta, kad n-matėje hiperplokštuminių elementų erdvėje su nesimetrine tiesine sietimi maksimalus judesių grupių parametrų skaičius yra parametrai. / The present work analyses movements in n-dimensional space of hyperplaine elements . The received results: 1. It was proved that in the n-dimensional space the maximum number of movement groups parameters, number is parameters 2. It was proved that in the n-dimensional space the maximum number of movement groups parameters with asymmetric linear connection is parameters.